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PREFACE

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If the reader should inquire what special claims the present author can put forward to treat so complex and indeed novel a subject, the first reply is, of course, that he has thought a long time and with much care about it, and this, for a theorist, is sufficient vindication. But it may fairly be added that a writer on the principles of conversation ought to live in a country where the practice of it is confessedly on a high level, and where the average man is able to talk well. This is an additional justification. Lastly, though examples cannot teach the art, it is to be expected that the writer should not live altogether in his study, but should go out and hear as many good conversations as possible, in order to bring his theories to the practical test. These three conditions having been honestly fulfilled, the failure of the book will rather be due to want of ability than to want of honest preparation in the author.

The generality of the treatment may perhaps mislead the reader to think that there is nothing but speculation attempted. This is not so, each single case of general description being drawn from instances under the author’s own observation, so that not a few will be recognised by those who have moved in the same society. But, if justly drawn, they ought to be found in every society.

In seeking for advice among those whose conversation has supplied the best materials for his theory, the author has been fortunate enough to obtain the assistance of the Marchioness of Londonderry and Lady Audrey Buller, who have made suggestions and criticisms which he here cordially acknowledges.

Trinity College, Dublin,

September 1887.

ANALYSIS

Table of Contents

Introduction.

Conversation:

(1) is universal;

(2) is necessary; and therefore

(3) Is it an art? (§ 2)

(4) Can it be improved?

The great difficulty is this: that it must seem to be natural, and not an art. Hence—

(5) Analogy of the arts of logic and rhetoric (§ 3, § 4), viz.—

(α) They can never be taught without natural gifts to receive them.

(β) They can always be greatly improved in those who possess these gifts.

(γ) They must not be paraded, or they cease to be arts in the higher sense, for

(δ) The highest art is to attain perfect nature.

So also—

(1) No teaching by mere specimens and by memory is possible (§ 5).

(2) All the general rules are obvious, and yet

(3) Natural gifts are necessary to apply them with skill.

I. The Manner of Conversation, or

Subjective Conditions,

(A) in the speaker, and these are either—

(α) Physical, viz.

(1) A sweet tone of voice (§ 6).

(2) Absence of local accent.

(3) Absence of tricks and catchwords (§ 7).

or

(β) Mental, viz.

(1) Knowledge, which may be either General (books, men), or Special (great topics, the topic of the day).

(2) Quickness.

or

(γ) Moral, viz.

(1) Modesty.

(2) Simplicity—digression on Shyness and Reserve.

(3) Unselfishness.

(4) Sympathy.

(5) Tact.

Digression as regards Conditions—

(α) too general—Moral Worth and Truthfulness.

(β) too special—Wit and Humour.

Objective Conditions,

(B) in the hearers, which are either in—

(1) Quantity, for we speak with (α) one, (β) a few, (γ) many.

(2) Quality, for we speak with (α) equals, (β) superiors, (γ) inferiors.

(3) Differences (A) of age, (1) older, (2) younger,

(3) equal; (B), of sex—men and women.

(4) Degrees of Intimacy, (α) relations, (β) friends, (γ) acquaintances (familiar, slight).

II. The Matter of Conversation, or

(C) The Topics, which are either—

In Quantity—infinite.

In Quality—serious or trivial.

In Relation—personal or general.

(D) The handling of the Topics must be either—

Deliberative, or by all the company.

Controversial, or by two speakers.

Epideictic, or by one.

Epilogue.

THE PRINCIPLES

OF THE

ART OF CONVERSATION